Editing Ayumi Hamasaki (section)

==Public image and legacy==
Hamasaki's lyrics and image initially gained a following predominantly among young [[Generation X]] and [[Millennials]], often referred to as "the voice of the lost generation".<ref name=":1">{{Cite book |last1=鈴木 |first1=智之 |url=https://books.google.com/books?id=yJlwDgAAQBAJ |title=失われざる十年の記憶 一九九〇年代の社会学 (A Decade of Unforgettable Memories: Sociology in the 1990s) |last2=西田 |first2=善行 |publisher=Seikyusha Co. |year=2012 |access-date=January 28, 2023 |archive-url=https://web.archive.org/web/20240816163321/https://books.google.com/books?id=yJlwDgAAQBAJ |archive-date=August 16, 2024 |url-status=live}}</ref><ref>{{Cite web |title=浜崎あゆみは僕ら「ロスジェネ」世代の代弁者！｜沢矢 寅馬｜note |url=https://note.com/maemuki2/n/nfd70d8bf3717 |access-date=2023-01-12 |website=note（ノート） |date=June 20, 2021 |language=ja |archive-date=August 16, 2024 |archive-url=https://web.archive.org/web/20240816141758/https://note.com/maemuki2/n/nfd70d8bf3717 |url-status=live }}</ref> Music critic Tetsu Misaki believed that the juxtaposition of her fashionable appearance and her personal lyrics was one of her most important selling points, helping shape the 2000s pop scene in Japan.<ref name="Jpopnonihongo1">{{cite book |author=Misaki, Tetsu |chapter=浜崎あゆみ～共感はどこまで可能か |trans-chapter=Ayumi Hamasaki: How far can empathy go? |title=Jポップの日本語―歌詞論 |trans-title=J-Pop Japanese: Lyricism |language=ja |location=[[Chiyoda, Tokyo]] |publisher=Sairyuusha |date=July 20, 2002 |pages=23–40 |isbn=4-88202-752-6}}</ref> Teresa Nieman of ''[[The Guardian]]'' wrote that Hamasaki's willingness to take on unusual subject matter is what made her noteworthy among her peers, naming her as the 'undisputed Queen of J-pop'.<ref name=":2">{{cite news |last=Nieman |first=Teresa |date=March 25, 2010 |title=Why Japanese Pop Matters |url=https://www.theguardian.com/music/2010/mar/25/japanese-pop-women |url-status=live |archive-url=https://web.archive.org/web/20140322182034/http://www.theguardian.com/music/2010/mar/25/japanese-pop-women |archive-date=March 22, 2014 |access-date=August 31, 2010 |newspaper=[[The Guardian]]}}</ref> According to publications, it was that ability to contrast striking visuals and vulnerability that went on to inspire an entire generation across Asia.<ref name="TalkAsia">{{cite web |title=Talk Asia&nbsp;— Program Descriptions |url=http://www.cnnasiapacific.com/programs/en/program/15/ |url-status=dead |archive-url=https://web.archive.org/web/20080405185601/http://www.cnnasiapacific.com/programs/en/program/15/ |archive-date=April 5, 2008 |access-date=February 19, 2008 |publisher=[[Turner International|Turner International Asia Pacific]]}}</ref><ref name="washingtonpost">{{cite news |last=Pan |first=Philip P. |date=November 27, 2000 |title=Taiwan's Teens Take Style Cues From Tokyo |newspaper=Washington Post}}</ref>

Lisa Takeuchi Cullen of ''[[Time (magazine)|Time]]'' magazine credits some of Hamasaki's early success to her "by-the-bootstraps climb to pop royalty" journey, her perspective resonating with the general public.<ref name=":5" /> Tomoyuki Hokari of ''OKMusic'' agrees, considering her lyricism as a "reaction against the customs and culture of the previous generation", and a "terrifyingly calm, objective view" on the social turmoil of turn-of-the-century Japan.<ref>{{Cite web |date=2020-04-08 |title=浜崎あゆみが世紀末に示した確かな光ーー。『LOVEppears』に見る鮮烈な歌詞世界 {{!}} OKMusic |url=https://okmusic.jp/news/297626 |access-date=2024-10-09 |archive-url=https://web.archive.org/web/20200408063547/https://okmusic.jp/news/297626 |archive-date=April 8, 2020 }}</ref> In addition, her history of supporting [[LGBTQ]] rights has led to widespread recognition as a [[gay icon]], and remains a defining element of her image.<ref>{{Cite web |date=2018-07-31 |title=浜崎あゆみがLGBTフレンドリーなアーティストとして発信し続けてきたこと – wezzy｜ウェジー |work=wezzy｜ウェジー |url=http://wezz-y.com/archives/54186 |archive-url=https://web.archive.org/web/20180731023954/http://wezz-y.com/archives/54186 |archive-date=July 31, 2018 |access-date=2024-10-09}}</ref><ref>{{Cite web |last=popmusik3141 |date=2018-05-04 |title=浜崎あゆみがゲイに人気らしいので久しぶりに聞いてみた感想 |url=https://www.nejimakiblog.com/entry/hamasaki-ayumi-gay-lgbt-homo-avex |access-date=2024-10-09 |website=世界のねじを巻くブログ |language=ja}}</ref>

In the 2000s, her frequent changes in image greatly impacted the course of fashion.<ref>{{Cite web |date=2008-01-13 |title=TIMEasia.com: Japan – Ayumi Hamasaki |url=http://www.time.com/time/asia/features/ayumi_hamasaki/cover.html |access-date=2024-10-09 |archive-url=https://web.archive.org/web/20080113090838/http://www.time.com/time/asia/features/ayumi_hamasaki/cover.html |archive-date=January 13, 2008 }}</ref> Described as a "chameleonic style icon",<ref name=":2" /> Hamasaki was known for being fully involved in every aspect of her work, displaying an unprecedented degree of ownership over her image; the control she had over the market drove stores to buy [[black market]] [[paparazzi]] shots of magazine shoots pre-publication, hoping to get ahead of the next "Ayu-instigated trend".<ref>{{Cite web |date=2007-12-24 |title=TIMEasia.com: Japan – Ayumi Hamasaki |url=http://www.time.com/time/asia/features/ayumi_hamasaki/cover2.html |access-date=2024-10-09 |archive-url=https://web.archive.org/web/20071224235041/http://www.time.com/time/asia/features/ayumi_hamasaki/cover2.html |archive-date=December 24, 2007 }}</ref> Mishal Varna of ''[[MTV]]'' compared her influence to that of Madonna, reflecting on the singer drawing in over 150 million viewers to her performance on ''[[MTV Asia]]''.<ref name=":3">{{Cite web |date=2008-03-08 |title=TIMEasia.com: Photo Essay – The Many Faces of Ayu |url=http://www.time.com/time/asia/features/ayumi_hamasaki/photoessay/5.html |access-date=2024-10-09 |archive-url=https://web.archive.org/web/20080308175111/http://www.time.com/time/asia/features/ayumi_hamasaki/photoessay/5.html |archive-date=March 8, 2008 }}</ref> A regular face on publications such as ''[[Vivi (magazine)|Vivi]]'', ''[[Popteen]]'', and ''[[Cawaii!]],'' Hamasaki herself considered her constantly changing image essential to her craft. That process is credited for the creation of the ''hime-kei'' wave, along with influencing returning Y2K ''[[kogal]]'' and ''gyaru-kei'' trends.<ref>{{Cite web |date=2009-03-02 |title=Princesses Preen in a Pauper Economy – TIME |url=http://www.time.com/time/world/article/0,8599,1876620,00.html |access-date=2024-10-09 |archive-url=https://web.archive.org/web/20090302184844/http://www.time.com/time/world/article/0,8599,1876620,00.html |archive-date=March 2, 2009 }}</ref><ref>{{Cite web |date=April 24, 2022 |title=浜崎あゆみ、パリス・ヒルトンがお手本？Z世代がハマる「Y2Kファッション」をご存知ですか（松本 英恵） @gendai_biz |url=https://gendai.ismedia.jp/articles/-/94379 |url-status=live |archive-url=https://web.archive.org/web/20220707113251/https://gendai.ismedia.jp/articles/-/94379 |archive-date=July 7, 2022 |access-date=2023-01-12 |website=現代ビジネス |language=ja}}</ref><ref>{{Cite web |date=2023-07-06 |title=44歳｢浜崎あゆみ｣に若者たちが心奪われる背景 |url=https://toyokeizai.net/articles/-/683534 |access-date=2024-10-17 |website=東洋経済オンライン |language=ja}}</ref>

Hamasaki's career has become the subject of [[Media studies|academic study]], and is considered to have had a profound impact on how the Japanese music industry manages and promotes female artists.<ref>{{Cite journal |last=辻 |first=幸恵 |date=2002 |title=浜崎あゆみを科学する |url=https://www.jstage.jst.go.jp/article/senshoshi1960/43/1/43_1_38/_article/-char/ja/ |journal=繊維製品消費科学会誌 |volume=43 |issue=1 |pages=38–42 |doi=10.11419/senshoshi1960.43.38}}</ref><ref>{{Cite web |last=Kitazawa |date=2008 |title=Ayumi Hamasaki vs the Japanese music industry |url=https://www.yesasia.com/global/yumcha/0-0-0-arid.163-zh_TW/featured-article.html}}</ref> Zhan Hongzhi of ''Inter-Margins'' magazine named her success as a type of "identity economy", explaining: "Japan spends 33.3 billion yen a year on Hamasaki. She is no longer just an idol. She has become "Hamasaki Industries", a media in her own right."<ref>{{Cite web |last=詹宏志 |date=2002 |title=Identity Economy: Marketing Techniques to Cultivate the Next Generation of Consumers (認同感經濟 ：培育下一批消費世代的行銷手法) |url=http://intermargins.net/intermargins/YouthLibFront/news/nw16.htm|archive-url=https://web.archive.org/web/20090210011311/http://intermargins.net/intermargins/YouthLibFront/news/nw16.htm |archive-date=February 10, 2009 }}</ref> In the wider media industry, various artists have spoken of being influenced directly by Hamasaki; these include [[Tomomi Itano|Itano Tomomi]],<ref>{{Cite web |last=編集部 |title=浜崎あゆみ、"あゆ超え"報道で炎上の板野友美を励まし「謝ったりしなくてい〜んだよ」 |url=https://www.musicvoice.jp/news/16179/ |access-date=2024-10-17 |website=MusicVoice |language=ja}}</ref> [[Mao Asada|Mao Asado]],<ref>{{Cite web |date=2022-11-10 |title=浅田真央、浜崎あゆみのおかげで「今がある」 中学時代の夢かなえ感謝 |url=https://www.oricon.co.jp/news/2256397/full/ |access-date=2024-10-17 |website=ORICON NEWS}}</ref> [[Maximum the Hormone]], [[Tsubasa Masuwaka]],<ref>{{Cite web |title=益若つばさ、長年あこがれてきた浜崎あゆみと涙の初対面で"最悪"の事態も「生きててよかった」 – 芸能 : 日刊スポーツ |url=https://www.nikkansports.com/entertainment/news/202304190000258.html |access-date=2024-10-17 |website=nikkansports.com |language=ja}}</ref> [[Sayaka Kanda]],<ref>{{Cite web |date=2024-10-17 |title=神田沙也加があこがれあゆ遭遇に感激涙/デイリースポーツ online |url=https://www.daily.co.jp/newsflash/gossip/2013/05/13/0005984649.shtml |access-date=2024-10-17 |website=デイリースポーツ online |language=ja}}</ref> [[Ken Hirai]], [[Ayaka Sasaki|Ayaki Sasaki]],<ref>{{Cite web |date=2023-03-27 |title=浜崎あゆみ、ファッションアイコンとして駆け抜けた25年「最初は何かを流行らせなきゃって気持ちはあったかも」 |url=https://news.mynavi.jp/article/20230327-2636933/ |access-date=2024-10-17 |website=マイナビニュース |language=ja}}</ref> [[Chiharu Niiyama]], [[Riisa Naka]],<ref>{{Cite web |date=2024-02-18 |title=仲里依紗、浜崎あゆみへの"愛"が爆発「やっぱり天才」「センスよすぎ」 |url=https://news.mynavi.jp/article/20240218-2885858/ |access-date=2024-10-17 |website=マイナビニュース |language=ja}}</ref> [[Lin Yu-chun]],<ref>{{Cite web |last=WEBザテレビジョン |title="台湾のスーザン・ボイル"リン・ユーチュンが再来日！「関ジャニの仕分け∞」でMayJ.にリベンジなるか!? |url=https://thetv.jp/news/detail/37538/ |access-date=2024-10-17 |website=WEBザテレビジョン |language=ja}}</ref> [[Rinka (model)|Rinka]],<ref>{{Cite web |title=Rinka Happy Life |url=http://rinka-blog.jp/2010/07/10/ |access-date=2024-10-17 |website=rinka-blog.jp}}</ref> [[Asako Ito]], [[Mana Sakura]],<ref name="asahi.com">{{Cite web |date=2023-04-14 |title=浜崎あゆみに見るフェミニズム 紗倉まなさんが影響を受けた歌姫：朝日新聞デジタル |url=https://www.asahi.com/articles/ASR4G6FMWR4DUCVL04G.html |access-date=2024-10-17 |website=朝日新聞デジタル |language=ja}}</ref> [[Misono]], Rina ([[Scandal (Japanese band)|Scandal]]), [[Rie Tanaka]],<ref>{{Cite web |title=五輪選手が好きな歌手を一挙紹介！田中理恵は浜崎あゆみファン |url=https://www.zakzak.co.jp/entertainment/ent-news/news/20120808/enn1208081537010-n1.htm |access-date=2024-10-17 |website=ZAKZAK |language=ja-JP}}</ref> and [[Rina Kawaei]].<ref name="asahi.com"/>

In her early years Hamasaki referred to herself as a product, often speaking about the "Ayumi Hamasaki" brand as a separate person: "We're similar, in some respects. It's my own image. It is necessary that I am viewed as a product. (...) I understand it's my role to realize people's dreams."<ref name="TimeInterview2" /> This approach, despite Hamasaki later opposing it, led to conflict between her artistry and her economic influence; accusations of the singer having lost her relatability, or presenting an overly cultivated image, have continued throughout her career.<ref name="NTVinterview" /><ref>{{Cite web |last=INC |first=SANKEI DIGITAL |date=2019-09-04 |title=浜崎あゆみ再ブレークなるか！？ 大ヒットの自伝的小説がドラマ化へ…業界内からは批判の声も ファン直訴騒動との因果関係が取り沙汰され |url=https://www.iza.ne.jp/article/20190904-5UK3FMD2FVK2JAZWGEURN6GGVY/ |access-date=2024-10-09 |website=イザ！ |language=ja}}</ref> A renewed sense of appreciation for Hamasaki's work was covered by media outlets during her 25th anniversary, ''[[The First Take|The First Times]]'' writing: "Involved in the Japanese pop scene for over 24 years, she has never stopped touring, never stopped releasing new music, and has never taken a break to recharge her batteries. How many artists can we say we have like that?"<ref name="thefirsttimes.jp" />